The baris tunggal dance I watched at the Esplanade was unlike any dance I have seen before. The non-ritual dance was performed by a solo male dancer, accompanied by three gamelan musicians. The Balinese dancer’s body movement, eye movement (sledet), as well as hand gestures were emphasized throughout, reflecting the nature of a warrior who is aware of his surroundings.
When the dance first began, the dancer’s movements were steady and careful, as if he were seeking out foes in an unfamiliar place. His lower body was grounded, while his fingers were in constant motion in a scissors-like movement like that of coconut leaves in a breeze. His eye movements, too, were quick and calculated. The sledet – a quick sharp glance that takes place on the sixth or seventh beat of an eight-beat gong cycle – contributed to the intensity of his dance. Accompanied by the light melodic tone from the gamelan, which sped up and slowed down according to the different phases of the dance, the performers were able to create a tense atmosphere.
The dancer’s costume was also effective in helping the audience grasp who he is portraying. The costume is brightly coloured, with pleats that represent a warrior’s armour and patterned to resemble medals. His headdress had flexible metal “thorns” that swayed as he danced. His facial features were also emphasized with the use of colourful makeup.
The warrior’s upper body movement seemed fluid, with multiple quick finger gestures and eye glances. His lower body however, differed from his upper body. It felt grounded, with stronger, less flexible stances and movements. It reminds me of a flower dancing in the wind, with flexible leaves, brightly coloured petals, and a strong support from the roots.
The dance evoked feelings of pride and successfully conveyed the young warrior’s desire to protect his land to the audience.
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